scholarly journals An Interdisciplinary Conducting Curriculum: Selected Theater Games From Viola Spolin’s “Improvisation for the Theater”

SAGE Open ◽  
2020 ◽  
Vol 10 (4) ◽  
pp. 215824402095492
Author(s):  
Devin Otto
Keyword(s):  
The Body ◽  
Physical Movement ◽  
Experience Levels ◽  
Music Ensembles ◽  
Highly Effective ◽  
Space Objects ◽  
The Mind ◽  
Theater Games

This article presents a series of theater games with clear connections to conducting and rehearsing music ensembles, explaining both how to play them and how young conductors will benefit from the experience. These games are published in Viola Spolin’s seminal text Improvisation for the Theater, which presents a series of exercises that foster communication, creativity, immediacy, and spontaneity. Many games also focus on creating and communicating character through physical movement and posture, awareness of the body in space, and manipulation of “space objects,” which are imaginary props made real in the mind of the observer through understanding of shared human experiences. Theater games are effectively experienced in short periods of time, intended for players of all ability and experience levels, and encourage immediate emotive communication, making them highly effective for young conductors and easily incorporated into undergraduate and graduate conducting classes.

Burnout of the Mind – Burnout of the Body?

2018 ◽  
Vol 32 (1) ◽  
pp. 30-42 ◽  
Author(s):  
Claudia Traunmüller ◽  
Kerstin Gaisbachgrabner ◽  
Helmut Karl Lackner ◽  
Andreas R. Schwerdtfeger
Keyword(s):  
Blood Pressure ◽  
Allostatic Load ◽  
Maslach Burnout Inventory ◽  
The Body ◽  
Lower Percentage ◽  
Control Group ◽  
Urinary Catecholamines ◽  
Morning Cortisol ◽  
The Mind ◽  
Cortisol Increase

Abstract. In the present paper we investigate whether patients with a clinical diagnosis of burnout show physiological signs of burden across multiple physiological systems referred to as allostatic load (AL). Measures of the sympathetic-adrenergic-medullary (SAM) axis and the hypothalamic-pituitary-adrenal (HPA) axis were assessed. We examined patients who had been diagnosed with burnout by their physicians (n = 32) and were also identified as burnout patients based on their score in the Maslach Burnout Inventory-General Survey (MBI-GS) and compared them with a nonclinical control group (n = 19) with regard to indicators of allostatic load (i.e., ambulatory ECG, nocturnal urinary catecholamines, salivary morning cortisol secretion, blood pressure, and waist-to-hip ratio [WHR]). Contrary to expectations, a higher AL index suggesting elevated load in several of the parameters of the HPA and SAM axes was found in the control group but not in the burnout group. The control group showed higher norepinephrine values, higher blood pressure, higher WHR, higher sympathovagal balance, and lower percentage of cortisol increase within the first hour after awakening as compared to the patient group. Burnout was not associated with AL. Results seem to indicate a discrepancy between self-reported burnout symptoms and psychobiological load.

Revaluations through Dance: Friedrich Nietzsche's Thought in Isadora Duncan's Speech The Dance of the Future

2019 ◽  
Vol 37 (2) ◽  
pp. 206-219
Author(s):  
Meindert E. Peters
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
Eternal Recurrence ◽  
Early Twentieth Century ◽  
Starting Point ◽  
The Future ◽  
The Mind

Friedrich Nietzsche's influence on Isadora Duncan's work, in particular his idea of the Dionysian, has been widely discussed, especially in regard to her later work. What has been left underdeveloped in critical examinations of her work, however, is his influence on her earlier choreographic work, which she defended in a famous speech held in 1903 called The Dance of the Future. While commentators often describe this speech as ‘Nietzschean’, Duncan's autobiography suggests that she only studied Nietzsche's work after this speech. I take this incongruity as a starting point to explore the connections between her speech and Nietzsche's work, in particular his Thus Spoke Zarathustra. I argue that in subject and language Duncan's speech resembles Nietzsche's in important ways. This article will draw attention to the ways in which Duncan takes her cues from Nietzsche in bringing together seemingly conflicting ideas of religion and an overturning of morality; Nietzsche's notion of eternal recurrence and the teleology present in his idea of the Übermensch; and a renegotiation of the body's relation to the mind. In doing so, this article contributes not only to scholarship on Duncan's early work but also to discussions of Nietzsche's reception in the early twentieth century. Moreover, the importance Duncan ascribes to the body in dance and expression also asks for a new understanding of Nietzsche's own way of expressing his philosophy.

Variations of the Mixed Discourse

2018 ◽  
Author(s):  
Chantal Jaquet
Keyword(s):  
The Body ◽  
States Of Mind ◽  
Mind And Body ◽  
The Mind ◽  
Shed Light

Lastly, on the basis of this definition, the author shows how affects shed light on the body-mind relationship and provide an opportunity to produce a mixed discourse that focuses, by turns, on the mental, physical, or psychophysical aspect of affect. The final chapter has two parts: – An analysis of the three categories of affects: mental, physical, and psychophysical – An examination of the variations of Spinoza’s discourse Some affects, such as satisfaction of the mind, are presented as mental, even though they are correlated with the body. Others, such as pain or pleasure, cheerfulness (hilaritas) or melancholy are mainly rooted in the body, even though the mind forms an idea of them. Still others are psychophysical, such as humility or pride, which are expressed at once as bodily postures and states of mind. These affects thus show us how the mind and body are united, all the while expressing themselves differently and specifically, according to their own modalities.

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